Royal Ballet Cinderella March/April 2023

[MJW]

A bit late in the day...photos of the production by Alastair Muir

 

https://photos.alastairmuir.com/Ballet/Royal-Ballet/Cinderella23/i-qvtCTmV

[LinMM]

Emeralds….I was just re reading your review and noticed more fully just HOW much more you enjoyed your second performance!  So although not convinced about the costumes etc for this production you were less disturbed by them ( and very obviously preferred this cast) and as your memory is so good on the previous one ( whereas I can hardly remember the production side of the previous one at all!) I wondered whether it was just the sheer shock

of the difference to you that made you feel so initially negative. I felt you were definitely warmer to this Cinderella at your second viewing!! 
Are you able to go again? I’ve seen it three times now and I like it more each time though of course the Kaneko/Bracewell casting helped enormously on the 3rd viewing though did prefer Magri as winter fairy and Kaneko as Fairy Godmother in other casts. 

Your review made me want to see the Lamb/ McRae casting though…. but I can’t make their next performance which is today!!  
I am seeing for one last time with Takada/Edmonds cast. 
I do think this Cinderella might have more impact and feel good factor if shown at Christmas…perhaps alternated with Coppelia OR a triple with Les Patineurs Rhapsody and The Concert? 

[OnePigeon]

10 hours ago, Linnzi5 said:

For me, I really first noticed how beautifully he dances in Dances at a Gathering and that was just by pure chance. I think I've said before, that my eye is usually taken by the female dancer in the lovely tutu or dress. However, in his PDD with Francesca Hayward, my eyes were on him the whole way through. Francesca was absolutely lovely, but he just captivated me. His arms were divine in that. Really strange. I've been hooked since. I do love other dancers though, of course. I've seen Vadim dance many times and am always really impressed with him, as I am with Matthew Ball and many others. 

This is exactly the same for me - I just couldn’t stop watching him.  He was really dancing and filling the music with his own personal style, lyricism and musicality, which is something I often find lacking in these days of great technique at the expense of poetry.

[Fonty]

12 hours ago, Emeralds said:

 

 

 

The new character of Fairy Godmother in disguise confused rather than advanced the plot. Far from being a crone, she looks glamorous, like a fashionable model dressed up for a trendy Halloween party. Giving a bunch of violets to Cinderella is baffling- that’s an old historical reference (poor women selling bunches of violets to earn some money) that is anachronistic with this “modernised” production (as evidenced by the new Stepsister and Father Costumes, the new ball guests’ suits and gowns, and Cinderella’s ragged but elegant black dress changed to a Disney/West End musical style blue dress). As she stands straight, she doesn’t look old or poor, whereas in the old versions, the dancer portraying the Fairy Godmother hunched over with a stick and was covered in a ragged cloak so that you couldn’t really see her face, leading you to assume she must be a poor, elderly beggar.

 

Now she simply looks like a glamorous assistant  (who doesn’t look poor but still begs  for money) sent to assess Cinderella or her sisters’ character, who reports back to the Fairy Godmother!

 

 

 

Yes, I didn't get this either.  I thought the glamorous outfit most odd, given she is supposed to be out begging. I thought the costume made her look very like Carabosse's twin sister - the good fairy as opposed to the bad one.  It made the gesture of giving bread to her meaningless.  This lady did not look as though she was starving.  This is one occasion where less is more.  If the figure is bent over wearing a simple, threadbare cloak, it makes it much easier to stage the transformation scene.  

[capybara]

11 minutes ago, Fonty said:

 

This is one occasion where less is more.  If the figure is bent over wearing a simple, threadbare cloak, it makes it much easier to stage the transformation scene.  

And, for one reason or another, the ‘transformation’ hasn’t worked at any of the many performances I’ve seen.

[RobR]

10 minutes ago, Fonty said:

 

Yes, I didn't get this either.  I thought the glamorous outfit most odd, given she is supposed to be out begging. I thought the costume made her look very like Carabosse's twin sister - the good fairy as opposed to the bad one.  It made the gesture of giving bread to her meaningless.  This lady did not look as though she was starving.  This is one occasion where less is more.  If the figure is bent over wearing a simple, threadbare cloak, it makes it much easier to stage the transformation scene.  

It’s a magic fairy tale @Fonty.

The cast see her as she’s supposed to appear to them.
We, the audience, see her for what she is - a fairy …..

 

(No general posts please about Odette not appearing as an actual swan, Dr Coppelius believing Swanhilda is a mechanical puppet, Giselle rising from her grave …… )

 

[JNC]

9 minutes ago, RobR said:

It’s a magic fairy tale @Fonty.

The cast see her as she’s supposed to appear to them.
We, the audience, see her for what she is - a fairy …..

 

interesting theory Rob but given the way the sisters recoil from her I think she is meant to look ragged and poor? Unless they are just anti outsiders generally.

 

I like the costume and think the cobweb wings (?) do give a dramatic shadow but it doesn’t make sense as part of the old woman disguise and agree that perhaps a ragged cloak would have been more effective.

 

Similarly without wanting to nitpick too much Cinderella’s clothing/dress doesn’t look particularly dirty or ragged to me. It’s got a clean cut, you can see a few patches on it to indicate it’s old but I would have preferred something more visibly dirty/tattered looking. Like the blue being visibly dirtied at the hem or a darker colour generally (but could see that might not pop against the background/sets). 
 

While we’re on costumes aside from the colours of the fairies in act 1, I didn’t like the top which just seemed to be an adapted leotard so a bit of a boring/less flattering cut then the top of a tutu style leotard - ie a non round neck. It just looked to me like someone had dyed a bog standard leotard and attached some flowers/leaves to it! 

[bridiem]

26 minutes ago, RobR said:

It’s a magic fairy tale @Fonty.

The cast see her as she’s supposed to appear to them.
We, the audience, see her for what she is - a fairy …..

 

But surely at this stage, we the audience are supposed to see her as Cinderella sees her? And if she's a glamorous mysterious figure rather than a poor beggarwoman, why would Cinderella feel the need to be kind to her/give her anything? It doesn't make sense. (And that's the element on which the whole plot turns - that Cinderella is being rewarded for her goodness by going to the ball.)

Edited April 16, 2023 by bridiem
Sentence added

[Scheherezade]

15 minutes ago, Fonty said:

 

Yes, I didn't get this either.  I thought the glamorous outfit most odd, given she is supposed to be out begging. I thought the costume made her look very like Carabosse's twin sister - the good fairy as opposed to the bad one.  It made the gesture of giving bread to her meaningless.  This lady did not look as though she was starving.  This is one occasion where less is more.  If the figure is bent over wearing a simple, threadbare cloak, it makes it much easier to stage the transformation scene.  

This is very true but I did find the Arthur Rackham-like incarnation very pleasing from an aesthetic angle. She slotted in very effectively with the act 1 set design and gave off an aura of mystery that served as an effective scene-setter for the subsequent transformation. And now that you mention it, there’s something rather appealing about the idea of Carabosse’s better behaved twin sister. Just saying … 

[LinMM]

I thought the sisters recoiled from her as they sense something “supernatural” about her and possibly a danger to them…which she is in her potential to allow Cinderella to go to the Ball and meet the much desired Prince. 
Though don’t fancy their chances much even if Cinders hadn’t gone!  

[Scheherezade]

3 minutes ago, LinMM said:

I thought the sisters recoiled from her as they sense something “supernatural” about her and possibly a danger to them…which she is in her potential to allow Cinderella to go to the Ball and meet the much desired Prince. 
Though don’t fancy their chances much even if Cinders hadn’t gone!  

I felt that too, LinMM. There was a definite sense of fear, initially sensed more by the more timid sister and borne out by FG’s reaction to the more bossy sister.  

[capybara]

I understand how all these interpretations could fit. But I sense that a more obviously needy crone would assist the audience and enable the ‘magical’ transformation headlined in prior publicity.

[Sim]

I actually quite like the fact that we have a glam FG in this production.  It makes a change from the 'bent old lady in a cloak' disguise that we get in Beauty (when Carabosse tricks Aurora with the spindle) or Snow White or other fairy tales.  

 

It has taken a few viewings, but my interpretation is that the whole story is weaved through magic from start to finish.  So...the FG doesn't necessarily have to look like a poor, raggedy beggar.  We just need to see that Cinderella and her father are happy to help anyone who seems to need it.  It is a moral test by the FG, almost as if it is all pre-planned or ordained, so how she appears doesn't need to matter.  

 

On my first couple of viewings I thought it was strange that the prince seemed to be waiting for Cinderella, as if he has invited her to the ball.  Now I think that the magic is in the air, the spell has been woven around him so he already knows that something lovely is going to happen and is anticipating it.  

 

At the end of the ballet, it isn't a conventional wedding.  There are no guests, just stars, fairies and forever after.  For me, the whole thing is presented as a magical dream in a different way from the narrative of the classic fairy tale. Now that I get it (if I get it; it works for me, anyway!), I am enjoying it much more than I did the first couple of times I saw it ( I don't have the same problems with the designs and costumes that others seem to have; maybe it's because I'm not very familiar with previous versions, and I get that they are trying to appeal to a current audience).

[bridiem]

5 minutes ago, capybara said:

I understand how all these interpretations could fit. But I sense that a more obviously needy crone would assist the audience and enable the ‘magical’ transformation headlined in prior publicity.

 

Yes - the FG just changes from one glamorous figure to another.

[Fonty]

T

6 minutes ago, capybara said:

I understand how all these interpretations could fit. But I sense that a more obviously needy crone would assist the audience and enable the ‘magical’ transformation headlined in prior publicity.

 

Yes, I agree.  It is very interesting to read the comments on here, and how other people interpreted this, and I can see they are all very valid interpretations - a new take on an old fairy tale.  Thinking about it, the fairy godmother doesn't necessarily have to appear as a bent over old crone with a cloak over her head.  But I do think she has to appear to be impoverished and in need of assistance,  otherwise the story just doesn't make sense to me.  

I know transformation scenes can be tricky, but personally I didn't think staging it like this worked very well.  

 

[capybara]

15 minutes ago, Sim said:

I actually quite like the fact that we have a glam FG in this production.  It makes a change from the 'bent old lady in a cloak' disguise that we get in Beauty (when Carabosse tricks Aurora with the spindle) or Snow White or other fairy tales.  

 

It has taken a few viewings, but my interpretation is that the whole story is weaved through magic from start to finish.  So...the FG doesn't necessarily have to look like a poor, raggedy beggar.  We just need to see that Cinderella and her father are happy to help anyone who seems to need it.  It is a moral test by the FG, almost as if it is all pre-planned or ordained, so how she appears doesn't need to matter.  

 

On my first couple of viewings I thought it was strange that the prince seemed to be waiting for Cinderella, as if he has invited her to the ball.  Now I think that the magic is in the air, the spell has been woven around him so he already knows that something lovely is going to happen and is anticipating it.  

 

At the end of the ballet, it isn't a conventional wedding.  There are no guests, just stars, fairies and forever after.  For me, the whole thing is presented as a magical dream in a different way from the narrative of the classic fairy tale. Now that I get it (if I get it; it works for me, anyway!), I am enjoying it much more than I did the first couple of times I saw it ( I don't have the same problems with the designs and costumes that others seem to have; maybe it's because I'm not very familiar with previous versions, and I get that they are trying to appeal to a current audience).

Yes indeed, Sim, but the majority of the audience is there just the once and doesn’t have the luxury of being able to grow their own interpretations in the way that many of us on BCF do.

[LinMM]

Very much agree with your above statement Sim especially

“For me the whole thing is presented as a magical dream, in a different way from the narrative of the classic fairy tale” 

Which is also the reason I don’t mind the Prince not having to go around the World to find Cinderella….the magic woven takes him straight to her! 

 

[Lizbie1]

9 minutes ago, capybara said:

Yes indeed, Sim, but the majority of the audience is there just the once and doesn’t have the luxury of being able to grow their own interpretations in the way that many of us on BCF do.

 

But much of the audience won't arrive with any of our preconceptions about what it should look like and don't have to grow an interpretation. It's a simple fairytale that everyone knows the plot of. It's not tricky!

[bridiem]

1 minute ago, Lizbie1 said:

 

But much of the audience won't arrive with any of our preconceptions about what it should look like and don't have to grow an interpretation. It's a simple fairytale that everyone knows the plot of. It's not tricky!

 

But it becomes tricky if you change the presentation of a central character in a way that affects the plot that everyone knows!

 

However, I'm seeing the encore screening this afternoon and I will pay particular attention to the FG etc! 

[JohnS]

Journey home to Penrith and chance to catch up on Saturday’s performances after a fabulous weekend with the cinema encore still to come as I didn’t see the live relay.

 

Saturday’s matinee was very much Yasmine Naghdi’s Cinderella, a lovely performance so strong technically and very touching. I enjoyed Matthew Ball’s Prince although just before his solo I couldn’t help but think he’d perhaps been drawing too much on Wellington rather than being smitten by his Cinderella. That’s a touch unfair as I love the Naghdi/Ball partnership but unfortunately I caught perhaps the one preparatory smoothing of the hair when I was looking for a Prince enraptured by his Cinderella. And their pdd and the close of Act 3 were fabulous.

I found Tom Whitehead and Luca Acri over the top for my liking as I did

Joonhyuk JunJester where his enormous jumps can so easily miss the beat or lead to Koen Kessels having to apply the brakes.

 

I very much enjoyed Mayara Magri’s Fairy Godmother and the Fairies although Autumn might have had more attack. Their ensemble work was excellent.

 

I thought Saturday’s evening performance, Francesca Hayward’s cast’s last performance this run, one of those very special occasions. I’d seen the two earlier performances and very much enjoyed them. For the final performance everything gelled and it was a joy to be there. A fabulous atmosphere in the House and very pleasing to hear the intake of breath when people seeing the production for the first time delight in the magic.

 

I find Francesca Hayward a fabulously engaging dancer who very much inhabits the role. She’s a lovely fit for Cinderella and a natural Ashtonian. Other dancers may be technically stronger and at the end of her solo last night she had to work hard to avoid running out of stage, the one moment of any anxiety. That moment apart, I thought it a gem of a performance. And it also showed the strength of Alexander Campbell’s partnership with Francesca Hayward, the extra care he took to ensure all was well. He made for a fine Prince.

 

I thought the entire cast excelled last night. I’ve liked Christina Arestis and Kristen McNally as the step sisters and they were having a ball last night … and Napoleon’s wig didn’t make an early appearance. Annette Buvoli has really impressed as the Fairy Godmother and all the Fairies were on top form. And for me Taisuke Nakao has been astonishingly good as the Jester.

 

It was very good visiting the stage door after both performances yesterday and chat to Yasmine, Matt, Francesca and Alexander. I’m very pleased I’d assumed that it was the last performance for Christina, Kristen and Annette and was able to see them. People don’t know who’s dancing in the later casts but it won’t be them and no other women are dancing step sisters. Calvin Richardson has been rehearsing and he may be dancing with James Hay. Taisuke said he wasn’t dancing the Jester with the other casts. Hopefully the extra casting will be confirmed and published next week. Matt did say he’s been rehearsing with Laura Morera so I’ll certainly be looking forward to their performance next Saturday and the other new casts.

[Scheherezade]

48 minutes ago, Sim said:

I actually quite like the fact that we have a glam FG in this production.  It makes a change from the 'bent old lady in a cloak' disguise that we get in Beauty (when Carabosse tricks Aurora with the spindle) or Snow White or other fairy tales.  

 

It has taken a few viewings, but my interpretation is that the whole story is weaved through magic from start to finish.  So...the FG doesn't necessarily have to look like a poor, raggedy beggar.  We just need to see that Cinderella and her father are happy to help anyone who seems to need it.  It is a moral test by the FG, almost as if it is all pre-planned or ordained, so how she appears doesn't need to matter.  

 

On my first couple of viewings I thought it was strange that the prince seemed to be waiting for Cinderella, as if he has invited her to the ball.  Now I think that the magic is in the air, the spell has been woven around him so he already knows that something lovely is going to happen and is anticipating it.  

 

At the end of the ballet, it isn't a conventional wedding.  There are no guests, just stars, fairies and forever after.  For me, the whole thing is presented as a magical dream in a different way from the narrative of the classic fairy tale. Now that I get it (if I get it; it works for me, anyway!), I am enjoying it much more than I did the first couple of times I saw it ( I don't have the same problems with the designs and costumes that others seem to have; maybe it's because I'm not very familiar with previous versions, and I get that they are trying to appeal to a current audience).

I so agree with this, Sim. It all sits together so well when viewed as a magical allegory from the get go. And also something of a cautionary tale. Cinderella is quintessentially kind hearted and would be generous to anyone, and the mysterious FG did, after all, bring a bunch of violets and should therefore receive something in return - which Cinders, who is not judgmental, ensures that she does. The stepsisters’ behaviour is governed entirely by self-interest, they are extremely judgmental, and they have lessons to learn - which, at least in part, they do.

 

29 minutes ago, capybara said:

Yes indeed, Sim, but the majority of the audience is there just the once and doesn’t have the luxury of being able to grow their own interpretations in the way that many of us on BCF do.

But the one-off audience member is, then, surely likely to be captivated by the overall aesthetic of the sets, designs, costumes and projections and the undeniable beauty of the happy ever after ending. And they will be familiar with the caricatured step sisters through panto. 

[MJW]

35 minutes ago, JohnS said:

Journey home to Penrith and chance to catch up on Saturday’s performances after a fabulous weekend with the cinema encore still to come as I didn’t see the live relay.

 

Saturday’s matinee was very much Yasmine Naghdi’s Cinderella, a lovely performance so strong technically and very touching. I enjoyed Matthew Ball’s Prince although just before his solo I couldn’t help but think he’d perhaps been drawing too much on Wellington rather than being smitten by his Cinderella. That’s a touch unfair as I love the Naghdi/Ball partnership but unfortunately I caught perhaps the one preparatory smoothing of the hair when I was looking for a Prince enraptured by his Cinderella. And their pdd and the close of Act 3 were fabulous.

I found Tom Whitehead and Luca Acri over the top for my liking as I did

Joonhyuk JunJester where his enormous jumps can so easily miss the beat or lead to Koen Kessels having to apply the brakes.

 

I very much enjoyed Mayara Magri’s Fairy Godmother and the Fairies although Autumn might have had more attack. Their ensemble work was excellent.

 

I thought Saturday’s evening performance, Francesca Hayward’s cast’s last performance this run, one of those very special occasions. I’d seen the two earlier performances and very much enjoyed them. For the final performance everything gelled and it was a joy to be there. A fabulous atmosphere in the House and very pleasing to hear the intake of breath when people seeing the production for the first time delight in the magic.

 

I find Francesca Hayward a fabulously engaging dancer who very much inhabits the role. She’s a lovely fit for Cinderella and a natural Ashtonian. Other dancers may be technically stronger and at the end of her solo last night she had to work hard to avoid running out of stage, the one moment of any anxiety. That moment apart, I thought it a gem of a performance. And it also showed the strength of Alexander Campbell’s partnership with Francesca Hayward, the extra care he took to ensure all was well. He made for a fine Prince.

 

I thought the entire cast excelled last night. I’ve liked Christina Arestis and Kristen McNally as the step sisters and they were having a ball last night … and Napoleon’s wig didn’t make an early appearance. Annette Buvoli has really impressed as the Fairy Godmother and all the Fairies were on top form. And for me Taisuke Nakao has been astonishingly good as the Jester.

 

It was very good visiting the stage door after both performances yesterday and chat to Yasmine, Matt, Francesca and Alexander. I’m very pleased I’d assumed that it was the last performance for Christina, Kristen and Annette and was able to see them. People don’t know who’s dancing in the later casts but it won’t be them and no other women are dancing step sisters. Calvin Richardson has been rehearsing and he may be dancing with James Hay. Taisuke said he wasn’t dancing the Jester with the other casts. Hopefully the extra casting will be confirmed and published next week. Matt did say he’s been rehearsing with Laura Morera so I’ll certainly be looking forward to their performance next Saturday and the other new casts.

 

How lovely to have been able to meet so many cast members. I think I'd be too tongue-tied to make sensible conversation !

[JohnS]

14 minutes ago, MJW said:

 

How lovely to have been able to meet so many cast members. I think I'd be too tongue-tied to make sensible conversation !

I wouldn’t claim I made sensible conversation.

 

@jmhopton was at the stage door with me at the evening performance and it’s been very good to meet up with so many Ballet Forum friends.

I should have mentioned Tom Whitehead was pleased that I’d liked his Father in Fumi’s cast. And Koen Kessels loves the score!

[Dawnstar]

1 hour ago, JohnS said:

Calvin Richardson has been rehearsing and he may be dancing with James Hay.

 

Gosh, I didn't see that casting coming. I'd like to see it though! However as I'm only booked to see 1 of the 3 casts with unannounced secondary roles I haven't got great odds.

[capybara]

39 minutes ago, MJW said:

 

How lovely to have been able to meet so many cast members. I think I'd be too tongue-tied to make sensible conversation !

Give it a try, MJW.

You can just listen in if you feel diffident initially. 
 

[Dawnstar]

13 minutes ago, capybara said:

Give it a try, MJW.

You can just listen in if you feel diffident initially.

 

Does your use of "initially" indicate that one is supposed to get better at stage dooring with practice? Because I've been doing it for something like 18 years & I'm still fairly hopeless at it!

[capybara]

15 minutes ago, Dawnstar said:

 

Does your use of "initially" indicate that one is supposed to get better at stage dooring with practice? Because I've been doing it for something like 18 years & I'm still fairly hopeless at it!

😂 @Dawnstar!

I was thinking that, if someone goes to the Stage Door, there is no need to say anything as there are plenty of other supporters there congratulating the dancers, asking questions etc. But anyone is, of course, free to join in if they feel they want to.

 

 

 

Edited April 16, 2023 by capybara

[Emeralds]

18 minutes ago, Dawnstar said:

 

Does your use of "initially" indicate that one is supposed to get better at stage dooring with practice? Because I've been doing it for something like 18 years & I'm still fairly hopeless at it!

Dawnstar, if you haven’t been banned by security and you’ve also managed to get some replies from the dancers when you speak to them, I think you are no longer in the “fairly hopeless” category.😊

[Dawnstar]

1 minute ago, Emeralds said:

you’ve also managed to get some replies from the dancers when you speak to them

 

It's getting up the nerve to speak to people in the first place that's my problem. Particularly if there are lots of people there & everyone other than me wants selfies & autographs when all I want to is to speak to people to thank them for their performances.

[Emeralds]

1 hour ago, JohnS said:

Journey home to Penrith and chance to catch up on Saturday’s performances after a fabulous weekend with the cinema encore still to come as I didn’t see the live relay.

 

Saturday’s matinee was very much Yasmine Naghdi’s Cinderella, a lovely performance so strong technically and very touching. I enjoyed Matthew Ball’s Prince although just before his solo I couldn’t help but think he’d perhaps been drawing too much on Wellington rather than being smitten by his Cinderella. That’s a touch unfair as I love the Naghdi/Ball partnership but unfortunately I caught perhaps the one preparatory smoothing of the hair when I was looking for a Prince enraptured by his Cinderella. And their pdd and the close of Act 3 were fabulous.

I found Tom Whitehead and Luca Acri over the top for my liking as I did

Joonhyuk JunJester where his enormous jumps can so easily miss the beat or lead to Koen Kessels having to apply the brakes.

 

I very much enjoyed Mayara Magri’s Fairy Godmother and the Fairies although Autumn might have had more attack. Their ensemble work was excellent.

 

I thought Saturday’s evening performance, Francesca Hayward’s cast’s last performance this run, one of those very special occasions. I’d seen the two earlier performances and very much enjoyed them. For the final performance everything gelled and it was a joy to be there. A fabulous atmosphere in the House and very pleasing to hear the intake of breath when people seeing the production for the first time delight in the magic.

 

I find Francesca Hayward a fabulously engaging dancer who very much inhabits the role. She’s a lovely fit for Cinderella and a natural Ashtonian. Other dancers may be technically stronger and at the end of her solo last night she had to work hard to avoid running out of stage, the one moment of any anxiety. That moment apart, I thought it a gem of a performance. And it also showed the strength of Alexander Campbell’s partnership with Francesca Hayward, the extra care he took to ensure all was well. He made for a fine Prince.

 

I thought the entire cast excelled last night. I’ve liked Christina Arestis and Kristen McNally as the step sisters and they were having a ball last night … and Napoleon’s wig didn’t make an early appearance. Annette Buvoli has really impressed as the Fairy Godmother and all the Fairies were on top form. And for me Taisuke Nakao has been astonishingly good as the Jester.

 

It was very good visiting the stage door after both performances yesterday and chat to Yasmine, Matt, Francesca and Alexander. I’m very pleased I’d assumed that it was the last performance for Christina, Kristen and Annette and was able to see them. People don’t know who’s dancing in the later casts but it won’t be them and no other women are dancing step sisters. Calvin Richardson has been rehearsing and he may be dancing with James Hay. Taisuke said he wasn’t dancing the Jester with the other casts. Hopefully the extra casting will be confirmed and published next week. Matt did say he’s been rehearsing with Laura Morera so I’ll certainly be looking forward to their performance next Saturday and the other new casts.

Thank you for the casting hints and tips from the dancers, JohnS! Well done for guessing/predicting correctly! 

[Emeralds]

5 hours ago, LinMM said:

Emeralds….I was just re reading your review and noticed more fully just HOW much more you enjoyed your second performance!  So although not convinced about the costumes etc for this production you were less disturbed by them ( and very obviously preferred this cast) and as your memory is so good on the previous one ( whereas I can hardly remember the production side of the previous one at all!) I wondered whether it was just the sheer shock

of the difference to you that made you feel so initially negative. I felt you were definitely warmer to this Cinderella at your second viewing!! 
Are you able to go again? I’ve seen it three times now and I like it more each time though of course the Kaneko/Bracewell casting helped enormously on the 3rd viewing though did prefer Magri as winter fairy and Kaneko as Fairy Godmother in other casts. 

Your review made me want to see the Lamb/ McRae casting though…. but I can’t make their next performance which is today!!  
I am seeing for one last time with Takada/Edmonds cast. 
I do think this Cinderella might have more impact and feel good factor if shown at Christmas…perhaps alternated with Coppelia OR a triple with Les Patineurs Rhapsody and The Concert? 

Thank you for re-reading, LinMM - I’m honoured as it was a longgg post (and that’s after the trimming/editing). I’m not being sarcastic- I’m genuinely gratified. Thank you.

 

I still don’t like the production at all. The dancers in the first cast are brilliant, but the sets and costumes are fighting against them. I think if you lifted that cast out of this production and put them in the previous one, they would look wonderful in it. (Nunez, Choe and Hamilton have also received rave reviews in those roles when they danced the old production in 2011- not sure if Yuhui danced both Autumn and Summer but she certainly had great reviews as Summer).

 

I wonder what I might have thought if I only saw the second cast and wasn’t able to see the first one at all. Probably wouldn’t have been as annoyed with the Act 1 Fairy costumes but still disliked the changes as I do now!

 

I would watch this at Halloween, but definitely not at Christmas. The new production looks very Halloween-like (even the front cloth at the beginning looks like Halloween with dark silhouettes), despite the fact that  Cinderella was originally intended to be danced at either Christmas (it premiered 2 days before Christmas) or no particular season. I like the sound of your triple bill-if they staged that I will probably book for 3 performances of just the triple bill and forget about the Cinderella! Or 3 Coppelias! 

 

A third time...hmm....I might need a Valium before I can face it again! However, it is Laura Morera’s last full length ballet, so I might be able to  manage it one last time in order to support Laura (and I suspect Laura, like Sarah and Steven, can also help one blank out the production shortcomings as she is such a compelling actress and a wonderful Ashton dancer). We’re also waiting on the rest of the casting. We’ll see.....

Edited April 16, 2023 by Emeralds

[Sim]

On 15/04/2023 at 14:45, Balletbloke said:

After my third viewing last night (which I totally loved!), the strange comedic trot the sisters do towards the end kept nagging me. I then realised that it owes a lot to Fred and Adele Astaires' "Oompah trot", which used to cause a sensation on the London stage in the early 20s. As far as I know, the only example available now is a scene at a fairground in "Damsel in Distress", where Fred dances the step with Gracie Allen. It's not improbable that Ashton would have seen it performed, but whether it was a concious "borrowing" or not we'll never know. Anyway it's on Youtube, and I'd be happy for a second opinion!

(About 3:30 into this clip:

 

I just love this clip (well, I love ANY clip with Fred in it!); so clever as always.  Yes, I can see the similarity between this and the sisters' walk (although their heads are much more exaggerated than Fred and Gracie's), so who knows, maybe Sir Fred did see it and incorporate it into his choreography.  Thank for posting this, Balletbloke;  I hadn't seen it for many, many years. 

 

[Richard LH]

4 hours ago, JNC said:

Similarly without wanting to nitpick too much Cinderella’s clothing/dress doesn’t look particularly dirty or ragged to me.

I think it will be, by the end of the run.

Edited April 16, 2023 by Richard LH